The interview is conducted at the Riviera Hotel in Las Vegas during Newton‑John’s 1978 showroom engagement, shortly before the ABC television special she is taping for early May. She outlines the special’s format—built on an unbroken storyline rather than discrete numbers—and confirms that ABBA and Andy Gibb will appear throughout. Immediately afterward she will begin a European concert-and‑promotion tour (her first in four to five years), open Grease in Australia in November, and schedule concerts there; Japanese dates have been cancelled unless the government halts dolphin hunting.

Discussing Grease, she recalls first seeing the stage musical in London, praises John Travolta’s casting, and explains that Sandy’s transformation gave her two character arcs in one film. She weighed minimal acting training at the director’s suggestion but was told her natural quality suited the part; future roles, she says, would warrant study if more demanding. Although she receives both musical and non‑musical offers, she prefers upbeat entertainment and has no interest in violent material.

Newton‑John describes a collaborative approach to choosing repertoire with producer John Farrar (her producer for seven years), musical director Lee, and band members. Songwriting is becoming a larger part of her work: three of her compositions have appeared on albums and one has been covered in Japan. She records melody and lyrics on tape for Farrar to score. Despite strong record sales—her duet with Travolta has just passed a million in roughly two weeks—she plans to reduce live appearances next year to spend more time at home and with her animals.

Animal welfare motivates her career decisions: she cancelled the Japan tour in protest of dolphin kills and is considering deeper involvement with advocacy organizations. She keeps many animals at her Malibu property and calls their upkeep her largest personal expense. Environmental and humanitarian concerns, along with equal‑pay feminism, rank high, though she avoids overt political activism.

Born in England, raised partly in Australia, and now a U.S. resident, Newton‑John holds Australian domicile and may apply for American citizenship when eligible. She can drop her accent for roles but usually retains it unless the script requires otherwise. Religion, once central in her Presbyterian upbringing, has given way to an open but non‑affiliated spirituality; Scientology interests her only as it aids friends like Travolta.

Personal life remains low‑profile: she neither drinks heavily nor smokes, gambles only nominally, and values privacy despite Malibu’s celebrity density. Close friends include long‑time colleagues such as Farrar and designer Pat Farrar, as well as Helen Reddy. Her cars—a Mercedes, Jeep, and early‑purchase Volkswagen—serve practical needs, especially animal transport. Financial success no longer drives her; she would accept a low‑paying film if the script and director were first‑rate.

Looking ahead, Newton‑John seeks balance: continuing recording and selective film work while pursuing a future farm and more time with family and horses. She aims to remain “less exposed”—eschewing weekly television series to protect concert demand and personal space—yet is open to varied artistic avenues if the projects align with her values and schedule.